Between the Still and Moving Image
01 Oct 2008 - 04 Jan 2009
Photo: Andrew Lampert, still from Varieties of Slow, 2005. Triple-projection film and performance, dimensions variable. Courtesy Public Opinion Laboratory, New York
BETWEEN THE STILL AND MOVING IMAGE
October 1-January 4, 2009
STILL MOVING
October 1-November 2, 2008
Photography is part of the DNA of cinema. This exhibition examines the relationship between the still and moving image by artists and filmmakers whose works use stillness, slowness, light, cinematographic composition, and movement to construct different perceptions of time. Some works engage with place, extending our perception of time into the physical space of the gallery. Others draw our attention to everyday objects rendered almost three-dimensional by the camera's unmoving eye. The still photograph is the explicit subject of several works: collaged, held in front of the camera, or placed on a hotplate and left to burn as the image slowly disappears before our eyes.
WILLIAM EGGLESTON ON FILM
November 5-January 4, 2009
While William Eggleston is best known for his still photography, particularly his color work of the 1960s and '70s, Eggleston also experimented with video. Eggleston's Stranded in Canton (c. 1973-74) is a home-movie portrait of friends and acquaintances in the South, shot in bars, juke joints, and roadside diners. The Whitney presents a feature-length cut of this video along with three recent documentary films about Eggleston's work and life: 'William Eggleston in the Real World' by Michael Almereyda, 'William Eggleston: Photographer' by Reiner Holzemer, and 'By the Ways: A Journey with William Eggleston' by Vincent Gérard and Cedric Laty.
October 1-January 4, 2009
STILL MOVING
October 1-November 2, 2008
Photography is part of the DNA of cinema. This exhibition examines the relationship between the still and moving image by artists and filmmakers whose works use stillness, slowness, light, cinematographic composition, and movement to construct different perceptions of time. Some works engage with place, extending our perception of time into the physical space of the gallery. Others draw our attention to everyday objects rendered almost three-dimensional by the camera's unmoving eye. The still photograph is the explicit subject of several works: collaged, held in front of the camera, or placed on a hotplate and left to burn as the image slowly disappears before our eyes.
WILLIAM EGGLESTON ON FILM
November 5-January 4, 2009
While William Eggleston is best known for his still photography, particularly his color work of the 1960s and '70s, Eggleston also experimented with video. Eggleston's Stranded in Canton (c. 1973-74) is a home-movie portrait of friends and acquaintances in the South, shot in bars, juke joints, and roadside diners. The Whitney presents a feature-length cut of this video along with three recent documentary films about Eggleston's work and life: 'William Eggleston in the Real World' by Michael Almereyda, 'William Eggleston: Photographer' by Reiner Holzemer, and 'By the Ways: A Journey with William Eggleston' by Vincent Gérard and Cedric Laty.